Mort Flintwich and the Outworlder War – Episode 1 – No Good Deed

Below we present the complete text of No Good Deed; episode 1  of Mort Flintwich and the Outworlder War.

Mort Flintwich and the Outworlder War

EPISODE #1 – No Good Deed

by Philip Craig Robotham

Cover illustration by Philip Craig Robotham

Copyright 2022 Philip Craig Robotham

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Episode 1: No Good Deed

Mort Flintwich considers himself a charlatan… but he can see ghosts – real ghosts. Claudette Moreland is a kid with a supernatural gift. And a gangster named Caesar Cordova wants to use her to win a gang war. Star City is getting stranger.

No Good Deed

CAST LIST

MORT FLINTWICH

JAKE SPENCER

CAESAR CORDOVA

MADAM SOFIA MALEFICENT

LILLY MORELAND

CLAUDETTE MORELAND

WU CHENG

OUTWORLDER SPOKESBEING

BRUNO

JULIO

SANCHO

LITTLE GIRL IN TRAFFIC

JIMMY

STAN

CHARITY COLLECTOR

DOCTOR

RECEPTIONIST

WAITRESS

CUSTOMER #1

CUSTOMER #2

WOMAN (KNOCKED OVER BY LILLY AND SANCHO)

MRS HARGREAVES

POLICEMAN #1 (WHO DIES)

POLICEMAN #2 (AT WAREHOUSE)

POLICEMAN #3 (AT WAREHOUSE)

SCRUG

SCRAT

OUTWORLDER (RIVAL TO THE SPOKESBEING)

OUTWORLDER MINION (KILLED WITH SWORD ON STREET CORNER)

OUTWORLDER MINION (ATTACKING LILLY)

OUTWORLDERS

GANGSTER SPOKESMAN

GANGSTERS

OUTWORLDER LEADER

SFX ARTISTS

ACT 1

SCENE 1 : EXT – STREET – MORNING
(MORT, JAKE, GIRL, CHARITY COLLECTOR, STAN, JIMMY)

1. MUSIC: OPENING THEME – LET IT FINISH.
2. NARRATOR: Mort Flintwich and the Outworlder War, Episode 1: No Good Deed.
   It’s Morning on a gray day in 1934. The grimy streets of Star City are full of the exhaust fumes of morning traffic.
3. SOUND: STREET AMBIANCE (CARS, PEOPLE, ETC.) – ESTABLISH AND UNDER.
4. SOUND: MORT’S FOOTSTEPS – ESTABLISH AND FADE.
5. MORT FLINTWICH: For a hallucination, Jake, you’re quite the nag. I just want a sandwich.
6. JAKE SPENCER: It’s 9.00 am! You keep filling up like this and you’re gonna end up like me.
7. MORT: Non-existent and neurotic?
8. JAKE: Funny guy. No, big as a house instead of your current skinny shape.
9. MORT: (DISMISSIVE) Pah!
10. JAKE: And I’m not the neurotic here. You’re the one who thinks he’s talking to himself in the middle of a busy street.
11. MORT: Hey, a little odd behavior is good for business. I’m a medium, remember?
12. JAKE: Yeah sure – Mort Flintwich, medium for hire. Freelance charlatan to the rich and famous. How’s that working out for you?
13. MORT: Meh!
14. JAKE: (SNORTS) Uh-huh.
15. MORT: People get a good show when they come to me, even if I do cost.
16. JAKE: For someone who tells lies for a living, you’re your own best customer.
17. MORT: Not this again.
18. JAKE: You’re not a charlatan, Mort. You can talk to ghosts. The real deal. And I should know.
19. MORT: (WEARILY) Here we go.
20. JAKE: ‘Cos I’m a ghost and you’re talking to me in the middle of a crowded city street.
21. MORT: I’ve spoken to plenty of ghosts, Jake, and you’re not one. You’re the result of head trauma.
22. JAKE: Bah!
23. MORT: (PETULANT) My scrambled brain made you up.
24. JAKE: Rubbish. You’re not that creative.
25. MORT: (STUBBORNLY) You’re NOT a ghost.
26. JAKE: Uh-huh. Have it your own way. (BEAT) Why do you pretend to talk to ghosts when you could be doing it for real?
27. MORT: Ghosts have been getting scarce. These days I end up dealing with… other things. Tricksters. Some folks call them outworlders.
28. JAKE: (SKEPTICAL) Tricksters, Mort? Seriously?
29. MORT: I don’t know what they are underneath, but they ain’t spirits. I’d rather be an old-fashioned charlatan than deal with those things.
30. JAKE: (STILL SKEPTICAL) Uh-huh.
31. MORT: And they look wrong too. Four arms, a tail, a head full of evil looking teeth. They’re something else, something alien.
32. JAKE: (SCOFFING) Pfffft! Maybe you are damaged in the head.
33. MORT: (RAISING VOICE IN EXASPERATION) That’s what I’ve been saying.
34. JAKE: Hey, keep it down. People will stare.
35. MORT: Like anyone pays attention in this city? Break a leg in front of this lot and they’ll trample each other to get away from you. People gave up caring about each other here… years ago.
36. JAKE: Like you’re any different?
37. MORT: But that’s my point. I’m not. It’s what this city teaches you. You learn it’s a dog-eat-dog world and, once you realize it, you leave the dogs to it.
38. JAKE: Aw, come on. It ain’t that bad.
39. MORT: Yeah, it is. (BEAT) Hey! Hey kid, watch out!
40. GIRL: Hey!
41. SOUND: HORN BLARING. SCREECHING TYRES. TRUCK COMES TO HALT.
42. MORT: Sheesh, kid! You coulda been killed.
43. GIRL: Let go of me, Jerk!
44. MORT: Nice! Next time, maybe I’ll let you walk under the truck.
45. GIRL: Aw, go soak your head.
46. SOUND: GIRL RUNS OFF
47. MORT: See. No good deed ever goes unpunished.
48. JAKE: Yeah, right. Cos’ getting yelled at by a nine-year-old proves it woulda been better to watch her get flattened.
49. MORT: Aw, shut up.
50. JAKE: Snappy.
51. MORT: In forty minutes I’m going to be back in my office getting ready to fleece Mrs Hargreaves with a new show.
52. JAKE: So?
53. MORT: If you think I’m gonna grow a conscience about it, you’re talking to the wrong guy.
54. JAKE: Sure, sure. Your heart’s made o’ stone. (BEAT) You ain’t foolin’ anyone.
55. JIMMY: (INTERRUPTING) Hey. You’re Mortimer Flintwich ain’t you?
56. MORT: What now?
57. STAN: Yeah, that’s him. Get him into the alley.
58. SOUND: SOUND OF STRUGGLE – FADE UNDER TRAFFIC ETC.
59. MORT: Hey… What the…?
60. JIMMY: Shut up. We’ve been looking for you, charlatan.
61. MORT: Look I don’t know you guys. You can’t possibly have a beef with me.
62. STAN: Yeah, well… our employer does.
63. JIMMY: See, we been paid to “encourage Mort Flintwich to drop Mrs Laura Hargreaves as a client”. Her son’s not keen on you chipping at his inheritance.
64. MORT: Seriously? Hargreaves can afford it. And hell, most of these pigeons don’t even believe in what I do. They just come for the show. You should see it sometime.
65. STAN: Funny guy. My ma got taken by one o’you hucksters for a couple o’ C’s.
66. MORT: Yeah, and I’m guessing your ma couldn’t afford it. But she isn’t my kind of mark. I bilk the rich and stupid. (BEAT) Come on fellas. We don’t have to do this.
67. JIMMY: It’s nothing personal, bub-
68. STAN: Speak for yourself.
69. JIMMY: …but we’ve been paid.
70. STAN: Yeah, you know how it is?
71. JIMMY: We saw you save that kid before, so maybe keep the wise-cracks to yourself and we’ll go a little easy on you. Whattaya say?
72. MORT: Yeah, sure. (BEAT) (TO STAN) You know, I think I met your mother once.
73. JAKE: (WARNING) Mort-
74. STAN: How’s that?
75. JAKE: (WARNING) Mort… don’t-
76. MORT: Yeah. She was so ugly she was scaring blind children.
77. STAN: Why you…
78. SOUND: BODY BLOWS, GRUNTS, RATTLE OF TRASH CANS (GIVE IT A FEW SECONDS)
79. STAN: Not so smart now, are you?
80. CHARITY COLLECTOR: Hey! Hey! What’s going on down there? Hey, Police. Someone’s being mugged.
81. JIMMY: Come on, time to go. We’ve mussed him up enough for now.
82. STAN: Heh. Yeah.
83. SOUND: THUGS WALK AWAY – UNDER.
84. MORT: (GROANS).
85. JAKE: Aw, Mort! (BEAT) Anything broken?
86. MORT: Don’t sweat it. I’ve got a split lip, some bruised ribs, and my eye feels tenderized, but that’s the price you pay. (SPITS) Damn, I hate the taste of blood.
87. JAKE: At least you didn’t lose any teeth this time. Seriously, Mort. What’re you gonna do?
88. MORT: I could lie here for a while… you know embrace the feel of the concrete beneath my back.
89. JAKE: Yeah? Well don’t roll to your left. There’s some nasty looking run-off beside you.
90. MORT: Funny. (GROANS) Ugh.
91. JAKE: What about Mrs. Hargreaves? You gonna let her go?
92. MORT: That’s a fat fee I’d be giving up if I did.
93. JAKE: It’s your funeral.
94. MORT: (GROANING) C’mon. Let’s get back on the street. I still want that sandwich.
95. SOUND: HURRIEDLY APPROACHING FEET.
96. CHARITY COLLECTOR: Hey mister. You okay?
97. MORT: Yeah, fine.
98. CHARITY COLLECTOR: That’s gonna be a nasty shiner. Those fellas did you over pretty good.
99. MORT: (GRUNTS AS HE GETS UP) Yeah, thanks for chasing them off like that.
100. CHARITY COLLECTOR: No problem. (BEAT) Listen, can you spare some change? It’s for the soup kitchens. Lots of people out of work.
101. MORT: Are you kidding me? (CALLING OVER HIS SHOULDER AS HE WALKS AWAY) Charity collecting? Beat it, sis. People gotta stand on their own two feet.
102. JAKE: You know Mort, I take it all back. You’re a jerk!
103. MORT: Glad we see eye to eye.
104. MUSIC: SCENE ENDER – LET IT FINISH.

SCENE 2: INT – MOBSTER’S OFFICE – MORNING
(CAESAR CORDOVA, MADAME SOFIA MALEFICENT, BRUNO)

105. MUSIC: FADE UP SOFT CLASSICAL MUSIC ON A PHONAGRAPH.
106. SOUND: CAT MEOWS – LET IT FINISH
107. MADAME SOFIA MALEFICENT: (SOFTLY) Look at you, cat. Living in luxury; silken drapes, velvet-upholstered chairs, soft and expensive rugs… (BREATHES DEEPLY) and fresh cut flowers.
108. SOUND: CAT MEOWS AGAIN –
109. SOFIA: Oh, but you’re hungry, aren’t you? Come here.
110. SOUND: CAT PURRS.
111. SOFIA: Do you know what manner of monster holds you, cat?
112. SOUND: CAT MEOWS A QUERY
113. SOFIA: Hmpf! Today, cat, I’m orchestrating the world’s end, but I can’t see the finish. Too many magical people involved. It… unnerves me.
114. SOUND: CAT MEOWS
115. SOFIA: Oh, quiet. Your owner will be here shortly.
116. SOUND: TWO SETS OF MUFFLED MALE FOOTSTEPS APPROACH OUTSIDE THE DOOR.
117. BRUNO: I’m sorry Mr. Cordova, but they’ve hit us up north.
118. CAESAR CORDOVA: Again, Bruno? What does that leave us?
119. BRUNO: The bootlegging operation is gone. This raid destroyed our supplies. We lost a bunch of torpedoes too. Some of ’em are dead, the rest have gone over to Boscone and Tremere.
120. CAESAR: Damn those cowards!
121. BRUNO: We’ve still got the gambling houses so I think the bookies are likely the next target.
122. CAESAR CORDOVA: What’s our man-power like?
123. BRUNO: Our allies are getting thin. We can’t rely on the mayor’s office, and the fifth precinct will flip on us soon.
124. CAESAR: (DISGUSTED) Such a waste. We’ve got to hit back or they’ll roll us up like a carpet.
125. BRUNO: Boss, we haven’t been in a position to hit back for weeks. I think we need to consider…
126. CAESAR: No! I have obligations. To my family. To my employees. I will not abandon them.
127. SOUND: DOOR OPENS. FOOTSTEPS ENTER
128. BRUNO: But…
129. CAESAR: I said “No”! That is my final word.
130. BRUNO: Boss, some o’ the guys who flipped have been hiding under your wing for years. Now they’ve turned their backs on you. They’re not worth it.
131. CAEASAR: I give loyalty. I will not betray myself. I have already sacrificed too much. My health… My eyes…
132. BRUNO: Boss… you know I don’t…
133. CAESAR: It’s okay, Bruno. I know it makes you uncomfortable. The old witch was right, though. The power is there, if you’re willing to seize it… and pay the price.
134. BRUNO: I was raised an altar boy, boss. Some things should be left alone. Some deals have too high a price.
135. CAESAR: Higher than what I have already paid? You’re a good man Bruno. You speak your mind and I have always respected this, but…
136. SOFIA: Hello again, Caesar. Sorry to interrupt.
137. CAESAR: You! What are you doing in my office, witch? How do you keep getting past my guards?
138. SOFIA: (DISMISSIVE) Meh. I like to visit your cat.
139. SOUND: CAT MEOWS.
140. BRUNO: Boss? You want I should…?
141. CAESAR: No. I think “Madame Sofia” and I need to talk.
142. BRUNO: But…
143. CAESAR: Leave us for a few minutes, Bruno. I’ll be fine.
144. BRUNO: (RELUCTANT) Yes, Boss.
145. SOUND: DOOR CLOSES.
146. CAESAR: Ok, witch. What do you want?
147. SOFIA: Have you thought about my offer?
148. CAESAR: After what happened last time?
149. SOFIA: The power is real, as you have learned.
150. CAESAR: My eyes? Yes, they are gone. You tricked me, witch.
151. SOFIA: I did not. When I gave you the ritual, I warned you what might happen. Do you want pity?
152. CAESAR: No. But you knew I didn’t believe, and you gave it to me anyway.
153. SOFIA: And it worked. You have a second sight that is far more effective than your first.
154. CAESAR: And this should please me how?
155. SOFIA: You can look into the hearts of the people around you and see who they really are. You can see who you can trust and who is going to betray you.
156. CAESAR: But the price…
157. SOFIA: The price was what I said it would be. I did not lie.
158. CAESAR: My family cannot look me in the face unless I wear these glasses. Eyeless sockets are… not pretty.
159. SOFIA: You were warned.
160. CAESAR: And you are dangerous! Why should I even let you live?
161. SOFIA: Because my offer still stands. I can give you an army that can win this petty gang war of yours.
162. CAESAR: Monsters?
163. SOFIA: Yes, monsters. But monsters that will do your bidding, destroy your enemies, and let you take control of the entire city.
164. CAESAR: I have never wanted that kind of power.
165. SOFIA: I know. But you know what will happen if Boscone and Tremere win?
166. CAESAR: They have no principles beyond their wealth. (BEAT) Yes, I know what will happen to this city if I stand aside.
167. SOFIA: So? Do you want my help?
168. CAESAR: No. I do not. Bruno is right. The price is too high. I cannot afford to risk…
169. SOFIA: (AGITATED) You need to see the bigger picture, Caesar.
170. CAESAR: You do NOT get to call me Caesar. I am Mr. Cordova to you. And I already see this so-called big picture.
171. SOFIA: (SNORTS) Hmpf!
172. CAESAR: Cities always have crime. But crime can be controlled. I keep the drugs out. I make sure only people who can afford it are robbed. I stop the violence from spilling over into the streets – no civilian casualties. I am good for this city.
173. SOFIA: (DRILY) I’m sure knowing that will be a comfort when they put you in the ground…
174. CAESAR: We will see… But I don’t trust you, witch, with good reason. You are too dangerous to tolerate. (CALLING OUT) Bruno!
175. SOUND: DOOR OPENS
176. BRUNO: Yes, boss?
177. CAESAR: I’ve decided. Take this… woman… down to the docks. Dump her body in the river.
178. BRUNO: (WITH ENTHUSIASM AND RELIEF) Yes, boss.
179. SOFIA: Ha! You can’t harm me. I’m tempted to sit back and watch your world burn. It’s about what you deserve. But more is at stake here than your little kingdom “Mr.” Cordova.
180. SOUND: TELEPHONE RINGS – UNDER
181. CAESAR: Wait a moment, Bruno…
182. SOUND: TELEPHONE PICKUP
183. CAESAR: Report! (PAUSE) What’s happened? My wife? My children? (PAUSE) Where are you now? (PAUSE) Take them to the safe house. Send our surviving men to ground. Don’t tell anyone where my family is. Understood? (PAUSE) Good. Thankyou Juan. Stay with them.
184. SOUND: PHONE HANGS UP.
185. BRUNO: (BEAT) Boss…?
186. CAESAR: Boscone attacked my family but Juan got them out. My daughter watched one of my men die in front of her.
187. (TO SOFIA) It seems there are worse things than you in this world, witch. Tell me what you want in exchange for this army of yours?
188. BRUNO: Boss, no!
189. SOFIA: Ah, so we ARE agreed! We will need a few things to make this work.
190. CAESAR: (SUSPICIOUS) Such as?
191. SOFIA: I believe you have a thief working for you; goes by the name of Lilly Moreland?
192. CAESAR: She’s a contractor.
193. SOFIA: She has a daughter, a magically active girl of about twelve. We’re going to need her.
194. CAESAR: I don’t threaten children.
195. SOFIA: Then don’t threaten her. Get her away from her mother for a day or two. The ritual requires the participation of three awakened individuals.
196. CAESAR: What ritual?
197. SOPHIA: I have the directions here, don’t worry. The monsters sit behind an ancient dimensional gate. You and I will not be able to open it on our own, but the girl is one of the strongest active individuals in the city.
198. CAESAR: And she won’t be harmed?
199. SOFIA: I didn’t say that. There is always risk. But it’s her or your family.
200. CAESAR: I thought you couldn’t see my future?
201. SOFIA: Your family are mundane. I can see their end, even if I can’t see yours. Boscone will fillet them himself, just for the fun of it.
202. CAESAR: I hate this. But… damn it… I will get the girl.
203. SOFIA: Good. Then I will see you soon. Feed your cat. She’s hungry.
204. SOUND: CAT MEOWS
205. CAESAR: Wait! (BEAT) My cat… um, she is… er… that is… my house… it is not safe for her right now. Perhaps you could…
206. SOFIA: (AMUSED) Are you asking me to look after your cat?
207. CAESAR: You seem to get along.
208. SOFIA: You never fail to surprise me, “Mr.” Cordova.
209. CAESAR: Bah! Do what you want.
210. (TO BRUNO) Bruno! I need you to go pick up Claudette Moreland (Lilly’s girl). Bring her here in one piece, but leave the mother behind.
211. BRUNO: Kidnapping, boss?
212. CAESAR: Do what I ask. And escort this witch out of my… She’s gone!
213. BRUNO: Your cat’s gone too. Just those “instructions” left on your desk. Damn! How does she do that?
214. MUSIC: SCENE ENDER – LET IT FINISH.

SCENE 3: INT – GANG WAREHOUSE – MORNING
(JULIO, SANCHO, BRUNO, VIGO)

216. SOUND: SMACK OF FISTS (THREE OR FOUR).
217. JULIO: Alright, that’s enough, Sancho. Vigo’s unconscious again.
218. SANCHO: (GRUNTS) Pity.
219. JULIO: I thought you and Vigo were friends.
220. SANCHO: We worked together.
221. JULIO: Yeah. There ain’t no lasting friendships in this job, huh? (BEAT) Grab the bucket and douse him again.
222. SANCHO: Sure.
223. SOUND: SPLASH OF WATER THROWN OVER VIGO
224. VIGO: (COUGHING AND SPLUTTERING, SPEAKING SLOWLY AND IN SIGNIFICANT PAIN) Ugh. Looks like I’m still alive. Can’t you get it over with, already.
225. JULIO: We’re following the boss’s orders, Vigo. It’s nothing personal.
226. SANCHO: Heh. Yeah.
227. SOUND: SMACK
228. VIGO: (GRUNTS)
229. JULIO: The boss said he wanted you to suffer before we put you in the ground, so…
230. SOUND: SMACK.
231. VIGO: Go… to Hell!
232. SOUND: SMACK.
233. VIGO: (GRUNTS)
234. JULIO: This ain’t our doing, Vigo. It’s your own fault. You should never have betrayed the boss.
235. VIGO: Switching sides was the smart thing. You’re gonna die if you stick with Cordova.
236. JULIO: You think? That’s pretty funny.
237. SOUND: SMACK.
238. VIGO: (GRUNTS) How’s that?
239. JULIO: Well, here’s you, trying to avoid dying by joinin’ t’other side. And here’s us, killin’ you for the exact same thing. Who’s the smart one now?
240. SOUND: SMACK
241. VIGO: (GRUNTS)
242. SOUND: PHONE STARTS RINGING
243. JULIO: Hang on a sec.
244. SOUND: PHONE PICKS UP
245. JULIO: Yeah, this is Julio talkin’. (BEAT) Yeah, Bruno, Sancho’s here too. What? Okay. Who do you want us to pick up? (BEAT) A kid? (WRITING IT DOWN) Claudette Moreland. Is that Lilly’s kid? (BEAT) If you say so. Yeah, yeah. No civilian casualties. Got it.
246. SOUND: PHONE HANGS UP.
247. JULIO: Pack it up, Sancho. We’ll come back to this later.
248. SANCHO: Yeah?
249. JULIO: I know you’re just gettin’ started. But he’s goin’ nowhere. And the boss needs us to do a little snatch and grab. A priority job, grabbing a kid off the street; Lilly’s kid.
250. SANCHO: Lilly’s kid?
251. JULIO: I don’t make the policy, but that was Bruno, so it’s on the level.
252. SANCHO: D’ya think Lilly’ll be a problem?
253. JULIO: No civilian casualties, Sancho. Don’t forget what happened last time.
254. SANCHO: She ain’t no civilian.
255. JULIO: You’ve had plenty of fun today. Go wash your hands. Besides Vigo’s out cold again. We’ll leave him tied to the chair ’til we get back.
256. MUSIC: SCENE ENDER – LET IT FINISH.

SCENE 4: INT – DOCTOR’S OFFICE – MORNING
(DOCTOR, LILLY MORELAND)

257. SOUND: JANGLE OF INSTRUMENTS IN TRAY. FOOTSTEPS ON HARD FLOOR.
258. DOCTOR: I like your flower, Lilly.
259. LILLY MORELAND: What’s that, Doctor?
260. DOCTOR: The paper flower in your button-hole. I like it.
261. LILLY: Oh. Right. Claudette makes them. She gave me one this morning.
262. DOCTOR: She’s a talented little girl. (AWKWARD BEAT)
263. LILLY MORELAND: (JOKING) So, Doc, you’ve had some fun and, um… poked around. It’s time to put your books to good use. How long have I got?
264. DOCTOR: (BEAT)
265. LILLY: Doc? (BEAT) This the part where you explain how I’m going to live a long and… vigorous life. You know? It’s our banter.
266. DOCTOR: Lilly, I’m sorry… but…
267. LILLY: (HEAVY COUGHING) Ugh. I hate that taste – like bitter copper. It’s a few bloody noses and a cold, right?
268. DOCTOR: No. It’s not. I… I hate giving bad news to my patients, but… Lilly, you’re dying.
269. LILLY: What??! I haven’t been properly sick in twelve years – not since Claudette was born – and the first time I get so much as a blood-nose you tell me this?
270. DOCTOR: I know it’s a surprise. The disease advanced quickly. Your immune system turned on itself. I’ve never seen so many active pathogens in one body.
271. LILLY: Pathogens?
272. DOCTOR: You’re riddled with bacteria and your cells are essentially shredding. There’s nothing I can do.
273. LILLY: But…
274. DOCTOR: You’ve got maybe a month, maybe less. Frankly, I’m amazed you’re still alive.
275. LILLY: This is crazy. The bloody noses and coughing only started a week ago. They’re annoying, but…
276. DOCTOR: I’m sorry. I wish I had better news. But it’s important you think about the future… your daughter’s future. (BEAT) What will you tell her?
277. LILLY: What? Um… I don’t know. I need time to… This can’t be happening. (COUGHS AGAIN).
278. DOCTOR: I can give you the name of a priest or minister… if that would help?
279. LILLY: No… I mean, thank you. (BEAT) I can’t concentrate in here. It smells too much like antiseptic.
280. SOUND: CHAIR SCRAPES
281. DOCTOR: Please, wait. There are things that have to be arranged. If only for your daughter’s sake.
282. LILLY: Claudette can’t know about this. She already takes on too much responsibility.
283. DOCTOR: You’re dying Lilly. Your daughter deserves a chance to prepare herself.
284. LILLY: No! I’ll figure something out, but I’m not telling her before I have to.
285. DOCTOR: Lilly, I’ve seen this before. She’ll hate you for it. It’s better to get it out in the open as soon as possible.
286. LILLY: I said no!
287. DOCTOR: Alright, I won’t push. But you’re going to need help, and someone to look after Claudette. What about her father?
288. LILLY: He’s long gone. And even if he wasn’t, I wouldn’t leave her with him.
289. DOCTOR: Okay. What about state care? I have some contacts in local orphanages. Maybe I could…
290. LILLY: No. Absolutely not! She’s never going into an orphanage.
291. DOCTOR: Lilly, you can’t ignore this. You’re going to need care yourself, and soon…
292. LILLY: I’m not ignoring it. I’ll figure something out. I need… time… to think.
293. DOCTOR: Alright, but at least take these guardianship papers with you.
294. SOUND: PAPERS CHANGE HANDS
295. LILLY: Um…
296. DOCTOR: They’ll let you put Claudette somewhere that you choose. And before you go, I want you to make another appointment.
297. LILLY: But…
298. DOCTOR: This disease will get nasty towards the end. There are medicines that can help with the pain.
299. LILLY: Uh… thankyou, doctor.
300. DOCTOR: I’ll walk you out.
301. MUSIC: SCENE ENDER – LET IT FINISH.

SCENE 5: INT – DOCTOR’S RECEPTION – MORNING
(SOFIA, CLAUDETTE, RECEPTIONIST, DOCTOR, LILLY)

302. SOUND: TYPING – ESTABLISH AND UNDER
303. SOFIA: There she is, talking to the receptionist while her mother’s in with the doctor. She looks like a boy in those overalls and bob-cut.
304. SOUND: MEOW OF QUERY
305. SOFIA: Quietly, cat. She can’t see or hear us yet, but I don’t want to stretch my magic too much covering up your noise.
306. RECEPTIONIST: You’re quiet. Watcha doing?
307. CLAUDETTE MORELAND: Making paper flowers.
308. RECEPTIONIST: A bit ugly, aren’t they?
309. CLAUDETTE: You can have one if you want. The waiting room needs some decorations.
310. RECEPTIONIST: (DEFINITE) No thanks! They’d look tacky, like everything else. I guess that’s what you get in a cheap clinic. (POINTEDLY AND WITH DISDAIN) The clients down here rarely pay.
311. CLAUDETTE: So, why don’t you like my mom?
312. RECEPTIONIST: I never said that.
313. CLAUDETTE: But you don’t like her. I can tell.
314. RECEPTIONIST: I like everyone who pays their bills.
315. CLAUDETTE: Uh-huh?
316. RECEPTIONIST: In the five years she’s been bringing you here, your mother’s never once paid the bill. And the Doctor’s too tender hearted to make an issue of it.
317. CLAUDETTE: You’re a liar. My mom always pays her debts.
318. RECEPTIONIST: You think so, huh? Well, I think your mom’s a dead-beat whose gonna get what’s coming to her.
319. CLAUDETTE: What do you know, you ugly cow?
320. RECEPTIONIST: How dare you! You think I don’t know what you are? What your mother is? No job. No man. It doesn’t take a genius to join the dots.
321. CLAUDETTE: What are you saying?
322. RECEPTIONIST: Your mom ain’t home much after dark, is she? Or maybe she’s home too much. Lots of uncles come visiting, do they?
323. CLAUDETTE: You take that back. My mom takes jobs where she can get them, and she works hard.
324. RECEPTIONIST: What would you know? You’re a silly little girl.
325. CLAUDETTE: Oh, and how respectable are you? Your husband’s off with the Grocer’s wife every time you turn your back.
326. RECEPTIONIST: (HORRIFIED) How’d you…? Who told? You’re making things up, you little…
327. CLAUDETTE: Don’t hit me!
328. SOFIA: (INTERRUPTING) Arkash Mishpak Narosh!
329. SOUND: MAGICAL CHIME
330. CLAUDETTE: (LONG BEAT) Um… you’re frozen. (BEAT) Are you dead?
331. SOFIA: She’s not dead, Claudette.
332. CLAUDETTE: (GASPS) Who are you? Where’d you come from?
333. SOFIA: I’d say she’s pretty angry judging by that backswing. Still, she won’t be able to bother you for a while.
334. I, um… stopped her for a moment. It won’t last.
335. CLAUDETTE: I guess I shouldn’t have read her mind and said that mean stuff. She made me really mad. Are you here to hurt me? Are you a witch?
336. SOFIA: (LAUGHS) No, though some folks think so. I’m a Romany. People often call us gypsies.
337. CLAUDETTE: I can’t read you. That’s unusual. I can read most people, except my mom, unless they are like me. Are you? Like me, I mean?
338. SOFIA: Do you mean, can I read minds? No. But I can do other things. So could you, if you were trained. People who are magically active are usually impossible to read.
339. CLAUDETTE: Why can’t I read my mom?
340. SOFIA: She has magic. She doesn’t know what her gift is, though.
341. CLAUDETTE: Really? She doesn’t like to talk about people having abilities. She probably needs some training. Is that why you’ve come? To train me, or mom?
342. SOFIA: No. Time’s passing and this spell will attract outworlders if we aren’t quick.
343. CLAUDETTE: Outworlders? What are they? Is that one in your pocket?
344. SOFIA: In my pocket?
345. CLAUDETTE: Your pocket’s moving.
346. SOFIA: Oh. No, that’s Cat. She’s moving around.
347. SOUND: MEOW.
348. CLAUDETTE: She’s beautiful. You’ve only just got her, haven’t you?
349. SOFIA: Are you reading her?
350. CLAUDETTE: Uh-huh.
351. SOFIA: Clever. With some luck you’ll… no, it’s too late and I’ve used far too much power creating this time bubble. We need to talk quickly, dear.
352. CLAUDETTE: What do you want?
353. SOFIA: (WITH SUDDEN FEROCIOUS URGENCY)I need you to do something, Claudette. I know you don’t know me, but it’s important. You need to ask your mother to find Mortimer Flintwich. Can you remember that name?
354. CLAUDETTE: You’re scaring me a little.
355. SOFIA: I’ve been told I’m a scary woman. But I’m no threat to you Claudette. Not at the moment.
356. CLAUDETTE: Good.
357. SOFIA: But I know someone who is. You’ve heard of Caesar Cordova, haven’t you? Your mother works for him.
358. CLAUDETTE: Yes. He’s scary. I can’t read him either, and his eyes… there is something wrong with them. He looked at me and he…
359. SOFIA: I know, Claudette. He can see your abilities. And he wants them… wants you. He’s sending men to get you, but Mortimer Flintwich can protect you.
360. CLAUDETTE: But how can he…?
361. SOFIA: He may be the only one who can. Caesar mustn’t get you before the appointed hour.
362. CLAUDETTE: The appointed…?
363. SOFIA: Trust me, Claudette. It’s more important than you could possibly…
364. CLAUDETTE: But you’ll protect us, right?
365. SOUND: RUSHING WIND
366. SOFIA: (ALARMED) Wait! They’re here.
367. CLAUDETTE: Who? Who’re here?
368. SOUND: HISSING SCUTTLING NOISES
369. SCRAT (OUTWORLDER): (HISSING WHISPER) Can you smell it, brother? Wild magic. Magic that drains. Magic that weakens.
370. SCRUG (OUTWORLDER): Yes, yes. Magic that weakens. Fool’s magic. The magic of one who wants to be fed upon.
371. SOFIA: You’ll find no easy prey here, outworlder.
372. SCRAT: It’s you. Do you think you can stop us? And a child? She’ll be delicious.
373. SOFIA: You are few enough, and I have a few tricks up my sleeve, yet.
374. SCRUG: Think so? Your spell is a beacon. The few who come now are nothing. Many will soon arrive.
375. SOFIA: I don’t think you’re just talking about my spell are you?
376. SCRUG: The barrier is growing thin. It will break. And then your world become our world.
377. SCRAT: Yes.
378. SOFIA: Really? And why are you so keen to make yourselves at home here?
379. SCRUG: Your ancestors drove us out of this world. Now something has found us. A horror. And we are being destroyed
380. SOFIA: Good!
381. SCRUG: You dare! We are hunted. But we will soon break through. More of us are finding a way. And you cannot stop us.
382. SOFIA: I can still do this, monsters. (BEAT) Incendiaré Conflagraté!
383. SOUND: WHOOSH OF FLAME
384. SCRUG: Flames. Pain.
385. SCRAT: It burns. It… Flee!
386. SOUND: SMALL EXPLOSION OF AIR
387. CLAUDETTE: (EXCITED) You saved us!
388. SOFIA: Easy girl. No need for hugs.
389. CLAUDETTE: I’m going to call you Granny from now on.
390. SOFIA: There’s no need to call me anything. In fact, don’t mention my part in this to anyone… ever.
391. CLAUDETTE: (CONFUSED) Alright.
392. SOFIA: Convince your mother to find Mortimer Flintwich. Promise me?
393. CLAUDETTE: Why?
394. SOFIA: It’s a matter of survival. You must survive and you won’t, and your mother won’t, without Flintwich’s help. So promise me. Find Mort Flintwich.
395. CLAUDETTE: Okay. I promise.
396. SOFIA: Good girl. Now I have to ask you to do something hard. Go stand by the desk. That woman is going to hit you.
397. CLAUDETTE: I can do it, Granny. (BEAT) No, wait. Take this…
398. SOFIA: A paper flower? You keep it, ok? (BEAT) I’m dropping the spell… now!
399. SOUND: DOOR OPENS – LET IT FINISH.
400. DOCTOR: Goodbye Lilly. Come back and see me when… What’s that smell…? It’s like… burning dust.
401. SOUND: FACE BEING SLAPPED.
402. RECEPTIONIST: …you little beggar!
403. CLAUDETTE: (STARTS CRYING – CONTINUE UNDER)
404. LILLY: (SHOCKED) Claudette! (COUGHING) Are you alright? What the hell kind of place are you running here, doctor!
405. DOCTOR: (ALSO SHOCKED) Mrs Atkins, you struck a child!
406. RECEPTIONIST: Doctor, I…
407. DOCTOR: There is absolutely no excuse, Mrs Atkins. You’re fired. Mrs. Moreland, I can only offer you my sincerest apologies.
408. RECEPTIONIST: But Doctor, she…
409. LILLY: You are not blaming this on my daughter…(TO THE DOCTOR) and it’s “Miss”. (COUGHING) Come on Claudette. We’re leaving.
410. SOUND: DOOR OPENS AND CLOSES – LET IT FINISH.
411. SOFIA: (DISTANTLY ECHOING) Well done girl. (BEAT) (LAUGHING) And you gave your mother a way to avoid settling her account – again.
412. MUSIC: SCENE ENDER – LET IT FINISH.

SCENE 6: EXT – ON THE STREET – MORNING
(CLAUDETTE, LILLY, JULIO, SANCHO)

415. SOUND: BUSY STREET AMBIANCE (CARS, PEOPLE ETC., OCCASIONAL CAR HORNS) – ESTABLISH AND UNDER
416. LILLY: I can’t believe that woman hit you.
417. CLAUDETTE: It’s all right, mom. It wasn’t as hard as it sounded.
418. LILLY: That’s not the point. (COUHGING) I’m gonna sue. I’m gonna…
419. CLAUDETTE: Are you okay Mom? What did the doctor say?
420. LILLY: It’s nothing. What matters is that woman and what she…
421. CLAUDETTE: Mom, stop! I’ve got something really important to tell you… about Mr. Cordova.
422. LILLY: What? How do you know about Mr. Cordova?
423. CLAUDETTE: C’mon ma. We live in the same apartment. I know you work for him sometimes.
424. LILLY: You do, huh?
425. CLAUDETTE: Sure. I see the notes and letters you get.
426. LILLY: Then you know he’s not an easy man to work for (STARTS COUGHING AGAIN) and you also know it’s important you don’t mention me working for him to anyone else.
427. CLAUDETTE: Why not?
428. LILLY: Never you mind. But it’s important alright?
429. CLAUDETTE: Okay. But he’s coming for me.
430. LILLY: What?
431. CLAUDETTE: You know how I can tell things sometimes?
432. LILLY: Claudette, we’ve talked about this?
433. CLAUDETTE: (PETULANT) We’ve talked about how you never want to talk about this. And you don’t believe you’ve got a gift too, but you do.
434. LILLY: Honey, this isn’t the time or place.
435. CLAUDETTE: But it is. You have to know. And you have to know now. Mr. Cordova is looking for me. He wants me because of my ability.
436. LILLY: You’re not playing games with me, are you Claudette? Because, if this is real, then we need to get off the street. Now.
437. CLAUDETTE: There’s more. We have to find someone to stay safe.
438. LILLY: What? Who?
439. CLAUDETTE: All I know’s his name; Mortimer Flintwich.
440. LILLY: (SHOCKED) Good grief! Where did you hear about him?
441. CLAUDETTE: BEAT
442. LILLY: Claudette? Where did you hear that name? You haven’t been snooping have you? Like with Mr. Cordova?
443. SOFIA: (ECHOING IN MEMORY) Don’t mention my part in this to anyone… ever.
444. CLAUDETTE: You know I know things, mom. I don’t know how, but I do. Who’s Mortimer Flintwich?
445. JULIO: (AT A DISTANCE) Hey! That’s them.
446. LILLY: (DISTRACTED) Oh no! Baby, I think we’re in trouble.
447. CLAUDETTE: Why..? (REALIZING) Oh…
448. LILLY: Yeah. There’s two of them. We need to run.
449. SOUND: PILE OF PAPER FALLING
450. CLAUDETTE: No, wait. I dropped my flowers.
451. LILLY: Claudette, we don’t have time.
452. SOUND: FOOTSTEPS – JULIO AND SANCHO APPROACH
453. JULIO: (FALSELY POLITE AND CHEERFUL) Good morning ladies. Are these flowers yours?
454. CLAUDETTE: Um…
455. JULIO: You won’t mind if Sancho picks ’em up for you.
456. SOUND: PAPER SCOOPED UP AND CRUMPLED (BEAT).
457. SOUND: RIPPING OF PAPER.
458. SANCHO: (SNICKERS) Heh.
459. JULIO: (FALSELY REPROVING) Sancho! (BEAT) Was that nice? I wanted you to help the young lady.(TO CLAUDETTE – FALSELY CONTRITE) I’m truly sorry, miss. (BEAT) But we’re not actually here for the flowers. We was wondering if we could offer you a lift up-town to visit with Mr. Cordova. He’d like to talk.
460. LILLY: That’s mighty kind of you, Julio. Does Mr. Cordova have another job for me?
461. JULIO: Sorry, Lil, the invitation ain’t for you. It’s for the little one… alone.
462. CLAUDETTE: I’m not going with you!
463. JULIO: Now, don’t make a fuss. We don’t want to hurt you.
464. LILLY: (COUGHING) Yeah, no civilian casualties, right? I’m an employee too. I know Cordova’s rules. Is that why the big, silent one’s here? In case we don’t cooperate?
465. JULIO: That’s about the sum of it.
466. LILLY: There aren’t a lot of uses that a gangster could have for a young girl. And none that I’d want my daughter exposed to.
467. JULIO: Sorry, Lil. I’m doing my job.
468. LILLY: And I’m guessing, if we run, Cordova’ll have a contract out on us before we can blink.
469. JULIO: This only ends one way, Lil, so cooperate. Sancho’s here to bring the hurt only if it’s needed.
470. LILLY: Really?
471. JULIO: You don’t want to end up face down in one of those trash cans over there. And, I gotta tell you, Lil,… Sancho enjoys smacking women around.
472. LILLY: (SULTRY) Oh, I don’t believe that. (TO SANCHO) A big guy like you. I bet underneath all that muscle, you’re a pussycat. Afterall, most men are easy to handle if someone knees them (GRUNTS) here…
473. SANCHO: (GRUNTS IN PAIN) Ugh!
474. SOUND: PARTIAL BODY DROP (TO KNEES).
475. LILLY: Or (TO JULIO) gets in a sucker punch to the throat like this… (GRUNTS)
476. JULIO: (ALSO GRUNTS IN PAIN) Ugh!
477. SOUND: SMACK AND BODY DROP.
478. LILLY: C’mon, kid. Run!
479. JULIO: (GETTING UP, CHOKING IN PAIN) Oh, you better run. You’re gonna pay for that Lil’. On your feet Sancho. We’ve gotta get after ’em.
480. SANCHO: (GRUNTS) She’s gonna pay. (BEAT)I think I’ve got a clear shot.
481. SOUND: GUNSHOT
482. SANCHO: Missed.
483. JULIO: Put the gun away, idiot! You know the rules.
484. SANCHO: But she…
485. BYSTANDER (LADY): (AT A DISTANCE) Police! Police! He’s got a gun. Police!
486. JULIO: That tears it. We gotta move.
487. SOUND: RUNNING FEET.
488. MUSIC: TIME PASSING TRANSITION
489. SOUND: STREET AMBIANCE (AT A DISTANCE)
490. LILLY: (BREATHING HARD)
491. CLAUDETTE: Mom…
492. LILLY: (TRYING TO STIFLE HER COUGHING) Shh! Stay quiet.
493. JULIO: (AT A DISTANCE) Damn it! I think we’ve lost ’em. Sancho, you go that way.
494. SANCHO: (GRUNTS AFFIRMATIVELY)
495. SOUND: FOOTSTEPS DEPART – FADE
496. LILLY: (RELIEVED) Okay. I think they’re gone… for now.
497. CLAUDETTE: See. I told you.
498. LILLY: Claudette…?
499. CLAUDETTE: Mom, who’s Mortimer Flintwich?
500. LILLY: He’s… someone I knew a long time ago.
501. CLAUDETTE: Mom?!
502. LILLY: Alright, alright. But I’m only explaining because we can’t ask him for help.
503. (BEAT) (WEARY) We were in the same orphanage. When I was little. Younger than you.
504. CLAUDETTE: You never talk about when you were my age.
505. LILLY: (COUGHING) Yeah, well. (BEAT) Anyway, we were friends. He was older than me, by a little, but, well he was like my little brother. I was the one who looked after him.
506. CLAUDETTE: Did you get adopted?
507. LILLY: No. I was sold to a house in town. The man who ran the orphanage wanted to make a little extra money and… well, I was pretty…
508. CLAUDETTE: I don’t understand. Were you a slave?
509. LILLY: Yeah, sort of. But I don’t want to talk about that either, okay?
510. CLAUDETTE: Okay.
511. LILLY: Anyway, Mort never stopped looking for me.
512. CLAUDETTE: Are you hiding from him?
513. LILLY: Sort of. He thinks he found me, only it wasn’t me, and I’ve let him go on thinking that. I was called Jesse, back then.
514. CLAUDETTE: I don’t understand.
515. LILLY: It’s complicated, honey. The place I lived… the house I was in… there were other girls there. I had a friend named Lilly. We looked a little bit similar.
516. CLAUDETTE: Like twins.
517. LILLY: Or sisters. One day I got in trouble and she took the blame. The people who ran the house beat her. They beat her real bad. So bad that she went to sleep and never woke up.
518. CLAUDETTE: Didn’t they take her to the hospital?
519. LILLY: No. They didn’t. She was more use to them unconscious. (BEAT) Some of their “customers” liked girls who didn’t move around.
520. CLAUDETTE: I don’t under…
521. LILLY: Years later we were rescued from that place, and Mort had a lot to do with it. He was a policeman then. But it didn’t stick.
522. CLAUDETTE: Did he arrest the bad guys?
523. LILLY: He wanted to. I wanted him to. But he couldn’t. Some important people were customers at that house. Other important people were protecting them. He stopped being a cop after that.
524. CLAUDETTE: So, why can’t we see Mort? He seems nice.
525. LILLY: He was, sort of. He’s changed a lot. But he was so desperate to help the little girl he’d known at the orphanage, and I owed Lilly so much… I swapped identities with her.
526. CLAUDETTE: What?
527. LILLY: You have to understand. No-one was going to help Lilly. Life’s hard and you can’t trust people. The only people who are safe are the ones with power and money, and she had neither.
528. CLAUDETTE: So the bad people won?
529. LILLY: Yeah. But Mort… He wanted to help. When he discovered her name was Jesse, and when all the other details fit, he got her into a hospital where she’s cared for properly. He pays her bills, and so do I… when we’ve got any money to spare. But he doesn’t know she isn’t me. (BEAT) Now do you see?
530. CLAUDETTE: Why didn’t you tell him the truth?
531. LILLY: At first, it was just a way to help Lilly. But then the court case fell apart and… Mort was a cop.
532. CLAUDETTE: Didn’t you trust him?
533. LILLY: No, I… I had something to do. Something Mort wouldn’t understand.
534. CLAUDETTE: What did you…?
535. LILLY: It doesn’t matter… (FIERCLY) But the man who ran that house got justice in the end… (THEN WITH UNCERTAINTY) in the end.
536. CLAUDETTE: But, if it’s over now… Don’t you know where Mort is?
537. LILLY: (SIGHS) Sure, I’ve kept track. He’s a small-time hustler now. He cons people with some fortune teller routine. Like I said, he’s changed, even if he does look after my friend.
538. CLAUDETTE: I’m sorry, but he has to help us. We’ve got to go see him. And he’s the only one who can. I’ve seen it.
539. LILLY: Like you saw that Mr. Cordova would be sending someone to get you.
540. CLAUDETTE: Yes.
541. LILLY: (COUGHING) Oh, this isn’t happening. (BEAT) We could run. We could leave town.
542. CLAUDETTE: Do you think Mr. Cordova would let us go?
543. LILLY: (DEFEATED) No. He’ll have men at the train stations, docks, and the airport, before we can get away. We can’t go back to our apartment either.
544. CLAUDETTE: Then what will we do?
545. LILLY: I’m gonna make Cordova pay. No-one is ever going to get the best of me – not ever again. Only… Cordova will keep sending men until he finds us, won’t he?. (BEAT) (DEFEATED) Okay, we’re gonna go see Mort.
546. MUSIC: SCENE ENDER – LET IT FINISH.
547. NARRATOR: Why does Mort insist on working as a fortune teller? What mysterious agenda is the double-crossing Madam Sofia pursuing? Can Lilly protect her daughter from Cordova’s goons and get the help she needs from Mort? Tune in to episode two and find out.
548. MUSIC: CLOSING THEME AND CREDITS

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ABOUT THE AUTHOR

Philip Craig Robotham grew up in a house full of books and has held numerous jobs as a teacher, computer programmer, graphic and web designer, an e-learning consultant and, most recently, writer. He currently lives in Victoria, Australia with his wife and two sons. When he was younger and fitter he enjoyed martial arts, but in recent years his hobbies have tended towards more sedate fare (board games, movies, books, and role-playing games).

He is extremely grateful for the encouragement he receives from his biggest fans — his wife and two boys — all of whom read and enjoy his scripts and, in general, make his life worth living.

You can contact the author regarding performance rights (or simply to say hello) through his website: https://www.weirdworldstudios.com.

THE END

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This post and all its content is copyright © 2013 Philip Craig Robotham and has been released under a Creative Commons Attribution Non-Commercial No Derivatives (CC BY-NC-ND 4.0) license. This play cannot be reproduced, shared, or performed commercially without the written permission of the author.  The production of derivative content, merchandise, or creative works and materials is expressly forbidden under this agreement. However you may share, reproduce, and perform this play freely so long as authorship is acknowledged, no money changes hands, and the play is not modified in any way.

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